The New York Times' Scores

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For 20,323 reviews, this publication has graded:
  • 46% higher than the average critic
  • 5% same as the average critic
  • 49% lower than the average critic
On average, this publication grades 4.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Short Cuts
Lowest review score: 0 Gummo
Score distribution:
  1. Positive: 9,408 out of 20323
  2. Mixed: 8,448 out of 20323
  3. Negative: 2,467 out of 20323
20323 movie reviews
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  1. Fratricide
    Every so often, Mr. Arslan cuts to Kurdistan, where a group of women wander the barren landscape, a Greek chorus gone astray in a film gone amiss.
  2. LOL
    Authentic in texture if narrow in scope, LOL is a movie about the way we live -- or rather about the way white, urban, heterosexual circuit boys are failing to live.
  3. Princesas
    A maudlin melodrama about prostitutes in Madrid, Princesas is not, alas, the new film by Pedro Almodóvar, but a dilution of his manner by the writer-director Fernando León de Aranoa.
  4. When the Levees Broke: A Requiem in Four Acts
    Although seeds of hope are woven into this tapestry of rage, sorrow and disbelief, the inability of government at almost every level to act quickly and decisively leaves you aghast at what amounts to a collective failure of will.
  5. Snakes on a Plane
    What they give us is the chance to win, not with righteous morality, but with an old-fashioned swagger that says, much like the film itself, Hey, we may be stupid, but we rock.
  6. Accepted
    Accepted will make for a passable alternative to sold-out shows of "Snakes on a Plane," but it's a disappointing debut for the director Steve Pink.
  7. The Illusionist
    This entertaining movie is content to be something a bit more modest: a pungent period folk tale that teases you until the very end.
  8. Material Girls
    The real-life sisters Hilary and Haylie Duff star in this incompetent spin on the poor-little-rich-girl story.
  9. Factotum
    Like the film itself, Mr. Dillon’s performance works through understatement.
  10. Trust the Man
    Ms. Moore is nicely lighted, but she too is poorly served by Mr. Freundlich's unfunny, unfocused screenplay, which basically stitches together a series of short scenes of four people whining in various combinations.
  11. 10th & Wolf
    The characters never transcend the clichés embedded in the culture since "The Godfather."
  12. Pusher III: I'm the Angel of Death
    The atmosphere is so thick, the talk so assured, the performances so disciplined and the fear so fearsome, that Mr. Refn’s final iteration of his pattern achieves the hard, bright light of an archetype from hell.
  13. King Leopold's Ghost
    Ms. Scott's outrage is palpable, but she has bitten off enough here for a 10-hour television series.
  14. Pusher II: With Blood On My Hands
    Where "Pusher" worked fresh texture and authenticity into a classic noir template, Pusher II reaches toward the mode of hyperrealist allegory perfected by the Dardenne brothers.
  15. Conversations with Other Women
    None of it is quite believable -- the film is too studied, too forward in its conceits to be entirely satisfying -- but Mr. Eckhart and Ms. Bonham Carter approach their roles with intelligence and conviction.
  16. Pulse
    The American version of Kiyoshi Kurosawa's "Pulse" mimics the plot fundamentals, but lacks any traces of Mr. Kurosawa’s creepy minimalism and conceptual rigor.
  17. Step Up
    The story is as old as Mickey Rooney but its appeal is eternal, and Step Up cleaves to the template with significantly more rigor than originality. For a director who is also a choreographer, Anne Fletcher is strangely reluctant to step out of line.
  18. Zoom
    Bleeds boredom from every frame.
  19. Half Nelson
    What makes Half Nelson both an unusual and an exceptional American film, particularly at a time when even films about Sept. 11 are professed to have no politics, is its insistence on political consciousness as a moral imperative.
  20. The Ordeal
    Calvaire is pompous, but not without talent or shivers.
  21. Hamilton
    To call Hamilton minimalist filmmaking is an understatement. Without plot or incident, and with only the flimsiest of characterizations, the movie operates primarily on the level of suggestion and insinuation.
  22. Poster Boy
    A polemic masquerading as a movie, Poster Boy unspools like a humorless lecture on right-wing homophobia.
  23. House of Sand
    At first House of Sand may seem like a stark tale of survival, but a surprisingly lush and colorful romance blossoms in its bleak and gorgeous desert setting.
  24. Kabhi Alvida Naa Kehna
    For something so silly and so long, however, the film is surprisingly engaging, thanks largely to its very watchable actors; it's easy to see why they are international stars in the world of Hindi films.
  25. World Trade Center
    Mr. Stone has taken a public tragedy and turned it into something at once genuinely stirring and terribly sad. His film offers both a harrowing return to a singular, disastrous episode in the recent past and a refuge from the ugly, depressing realities of its aftermath.
  26. Lunacy
    Mr. Svankmajer’s provocations skew toward the intellectual and the shivery rather than the pop and the visceral, and at his best, he doesn’t just get under your skin, but also deep in your head, too. Here, unfortunately, he does neither, despite some marvelous stop-motion animated sequences involving a literal moveable feast of severed animal tongues, loose eyeballs and errant brains.
  27. The Trouble with Men and Women
    It all feels utterly real and banal. You could describe The Trouble With Men and Women as a comfortable armchair to come back to: too comfortable.
  28. Satellite
    Satellite is not a profound film, but it touches a chord. It captures the wistful underside of the rampant materialism embraced by the young professional class.
  29. The Descent
    What follows is a sensationally entertaining escalation of frights, the kind that make you wiggle and squirm as you alternately laugh at your own gullibility and marvel at the filmmaker's cunning and craft.
  30. Barnyard
    Like too many animated films aimed at children, Barnyard embraces stereotypes that generally no longer cut it in adult films, and for good reason.
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